Computer Arts

Computer Arts

April 2020

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United Kingdom
Future Publishing Ltd


different strokes

There’s no editorial theme to this issue, but going through the pages a loose subject presents itself: how different we all are in our approach to projects, clients and careers, even when we’re (pretty much) all united in trying to achieve excellence, success and the respect of our contemporaries. You can see it over on our Discuss article (page 28) where we asked readers, ‘How many ideas should you present to a client?’. The responses were all considered and all varied. One fed back from experience, another aimed to confound the client’s expectations. One approach was strictly templated, while another was fluid, taking the lead from the client. Reading the feature on game-changing moments (page 44) for some of our favourite creatives, it comes up again. It’s a fascinating article where six…

behind the cover

Emily Gosling’s fascinating article on the relationship between sleep and creativity gave us plenty of scope for a very different kind of cover treatment this month. Yet as is so often the way, plenty of false trails were followed before we found an execution that we all liked. In fact, it’s fair to say that the art department found themselves entangled in a nightmare of sub-Jungian psychobabble, ricochetting between REM flow patterns, narcoleptic-inducing ‘sleep’ metaphors and downright baffling tarrot-card symbolism before arriving at the decidedly meditative cover you hold in your hands. The key that turned in the lock? A fond recollection of Studio Mut’s branding for the city of Trieste’s summer festival, covered back in issue 290’s Studio Profile. The radical minimalism of these posters encouraged us to try something more…


pendo.ca “In a time when chocolate has been interpreted in all sorts of unusual ways, our client’s objective was to return to simple and pure ingredients with a focus on the art and craft of chocolate-making,” says Peter Ladd, creative director and co-founder of studio Pendo of its work with the dark chocolate range Thomas Haas Blak. The agency was brought in to design the identity and packaging for the brand, which focuses on using simple ingredients and bold flavours through its “super premium line” of bars, truffles and cakes. “To align the brand with the product vision, the same convictions were applied,” says Peter. The designs use the geometric sans-serif font Euclid by foundry Swiss Typefaces, which is printed in gold foiling on black soft-touch stock for the packaging. “To express…

ragged edge

raggededge.com Brain health supplement Heights was given a holistic brand identity by Ragged Edge, with designs that aim to be both straight-talking and aspirational. The studio first carried out market analysis, examining the monthly subscription service product’s potential audience, as well as broader cultural trends. The name’s intention is to “invite the audience to go beyond what they thought possible, while the tone of voice aims to challenge the reader to reconsider their preconceptions,” says Ragged Edge co-founder Max Ottignon. Copy uses “playful” headlines and occasional brainteasers to avoid preachiness, while the logotype is designed to expand into a flexible, scalable object to reflect the brain’s adaptability. The visuals take a calm, premium approach that looks to contrast the “high-energy, quick fixes” approach of competitor brands. The blue and green colour palette hints…


wearecollins.com US agency Collins created the campaign for San Francisco’s Exploratorium museum’s exhibition Self, Made. The show explored the idea of identity and Collins, which has worked in an ongoing capacity with the Exploratorium, created a campaign inspired by “the complex confluence of unseen forces [such as experiences, emotions, environments, DNA, teachers, music] that combine to create the self,” says the agency. It developed a collaged series of portraits: “A visual metaphor for the idea that identity is never fixed, but an ever-changing mash-up of overlapping influences, constantly in flux,” says the agency. Various persona images were created by combining portraiture with elements from different cultures, the natural world and more abstract elements. “We wanted to tackle this complicated subject in a way that was representational without being stereotypical; universal without being…

marçal prats

behance.net/gallery/88158537/Dot-Magazine Marçal Prats created bespoke minimalist font DD Dot for art magazine Dot, inspired by Bauhaus designer Herbert Bayer’s 1925 Universal Type proposals. The issue celebrated the 2019 Bauhaus centenary, and Marçal was brought in by London studio Double Decker to create the design and layout. “Like an actor playing his favourite character, I decided to put myself in the shoes of Herbert Bayer,” says Marçal. Herbert’s work initially informed the issue logo, and from the letters d and t Marçal developed the entire DD Dot character set, including light, bold and black variants. His self-imposed rules were to use only straight lines, perfect circle sections and constant thicknesses to create “the minimum expression that a typeface can be.” Marçal used Adobe extension Fontself Maker “for its simplicity and immediacy,’’ adding that…